Now for obvious reasons, any show having to follow up Mickey Avalon at the Cobalt (Saturday Oct 7th) was going to be a tough play for this reviewer’s heart, body, and soul. Nevertheless, on a crisp Saturday evening, I made my way down to the Cobalt with my friend Brittney* as co-pilot to review Shabazz Palaces. Unlike at Mickey Avalon‘s set, she was not throwing up around the corner before going inside.
I think the best way to describe the crowd at The Cobalt for this show would be a collection of people who looked vaguely Australian, artsy bros you met 5 years ago in Montreal, and your parents coolest friends.
First and foremost, if you haven’t seen Shabazz Palaces live: do it. I don’t know if it was the live bongos, the soulful bass vibes, or the occasional maracas but they are one of those acts whose live sound adds another dimension (maybe even 3 or 4) to their recorded sound.
Palaceer Lazaro at times reminded me of a mix of Eazy E, Kendrick Lamar, and your favourite neighborhood beat poet who doesn’t shower (in sound only). He delivered his usual experimental verses, but also dropped a few freestyles that showcased his traditional capability on the mic.
Tendai “Baba” Maraire handled most of the instrumentals and showcased impeccable stagemanship that really made this show such a joy to watch. I’d say that when the two of them broke it down, their abilities could even rival Spoon‘s (whose jams are mentioned here).
I was told by one of the aforementioned Montreal artsy bros that their live show had some interesting variations, like a sci-fi sounding remix of their own sci-fi sounding song. I was already convinced, but little details like this are what really make me recommend this Seattle-based duo.
Shabazz Palaces provided just the right amount of hip hop and soul to accompany this eclectic crowd.
2 bongo drums out of 2!
* Some names and identifying details not changed to protect the privacy of individuals 😉
The Devil Makes Three, a California-based bluegrass and ragtime trio, played a passionate set at the Commodore Ballroom (Sunday Nov. 12th). The stage was set in long string lights, and the floor of The Commodore, notoriously packed with springs, was the perfect venue to experience this Americana group.
The foot-stomping of the crowd was set to a mixture of their more recent material (Redemption & Ruin / released 2016) and some older tunes (The Devil Makes Three / released 2002). The trio’s harmonious vocals were paired with the twang of a stand up bass (Lucia Turino), guitar (Pete Bernhard), and Banjo (Cooper McBean), simultaneously complemented by a guest fiddler and percussionist. The crowd swayed in response to some of my favourites: “Old Number Seven,” “Hallelu,” and “Graveyard” to name a few. This performance put bluegrass hot on 987’s radar!
The musical and cultural impression of The Devil Makes Three is less reflective of their home state, California, and more so of South Carolina. Similarly, the atmosphere felt less like Vancouver and more like…let’s say…Vernon? The Devil Makes Three brought out the down-to-earth side of the Vancouver music scene and the crowd clearly adored the opportunity to appreciate some simply and impeccably performed old-time country music. Here’s to The Devil Makes Three for broadening our musical horizons, and showing us a damn good time.
There are live performances, and then there’s live entertainment. Vintage Trouble‘s entertainment factor – the band’s energy, incredible musical talent, and raw connection with the crowd – made this weekend’s show at The Rickshaw Theatre remarkable. The audience, spurred on by lead singer, Ty Taylor, jived its way through the set-list from the first bluesy note to the last rocking chord. Taylor’s unwavering oomph, complemented by guitarist Nalle Colt, bassist Rick Barrio Dill, and drummer Richard Danielson, led to an unexpectedly astounding show full of dips, swings, handstands, dives, and twirls. The singer also skipped rope with the mic cord, crowd-surfed while belting out powerful vocals, and got every viewer to high-five a stranger.
The L.A. band formed in 2010, and has since gained international acclaim while opening for bands including The Who, The Rolling Stones, AC/DC, and Lenny Kravitz, among many more. This was Vintage Trouble’s first headlining show in Vancouver, and its strong fan-base in Hollywood North was utterly apparent.
From a six-minute instrumental in which every band member played a solo, to a collaboration with their opening act, Desi Valentine (a powerhouse heartthrob in his own right), the hour-and-a-half performance shook with every note. Beyond rock and rhythm and blues, the band is hard to classify; the shows are a bit of everything, and the tunes are sometimes difficult to label. What isn’t hard to see is the soul that they pour onto the stage, and the spillover that flows into the crowd’s feet.
All in all, Vintage Trouble’s performance, rounded with songs like “Run Like the River”, “Pelvis Pusher”, and “Nancy Lee”, was a refreshing take on a classic style. Gotta be 5/5 pinstriped suits, and a recommendation to check ‘em out.
One of the best “stumble-upons” we’ve experienced happened earlier this year. Let’s go back 4 months to sunny days and festival season.
It was a couple hour break between acts we were familiar with, at Tall Tree Music Festival 2017, when we heard the most captivating voice coming from the main stage. We strolled down from our campsite, and all stood in awe as we got to experience our first Caleb Hart performance.
Caleb has been on our radar ever since, and we made sure to hop on the first opportunity we got to have a lil’ chit chat.
Following Caleb’s most recent release, OrigiNation, we had 987’s Mikhail Din exchange with him a few words:
Hey Caleb! Thanks for chatting with us 🙂 You may not remember me; I was the guy standing 11 rows back in a t-shirt at your Tall Tree 2017 performance.
Jokes aside, that was a great set, and I’m stoked to do this Q&A.
What made you choose Canada when you moved from Trinidad and Tobago?
To be honest, I didn’t choose. My parents chose for me. I was 18 years old and needed to get out of a toxic environment… so they shipped me to Canada.
Could you tell us a bit about the divine encounter that changed your outlook on life/your music?
Two days after arriving in Canada, I had a ‘vision’ of a white light and a being walking toward me, this ‘man’ then said ‘I am love and have created you to love.’ At that moment, I felt a change in my life. I cried for over 7 hours. The next morning I woke up and all of the addictions and rage I had struggles with for most of my life had disappeared. I felt joy. I felt love.
Is there a meaning behind your new album title “OrigiNation”?
The meaning of ‘origiNation’ is explained by my father in the intro track of the EP. If I give it away on here, people may not go listen to it 🙂
You’ve got some gigs lined up in BC over the next few weeks. Any shows coming up after your Nov 5th set in Victoria?
How did you link up with Illvis Freshly? It was super rad seeing you guys on stage together at Tall Tree.
To make a long and funny short (and still funny)… I met Dan after seeing the New Groovement perform at Rifflandia. I believe I mentioned to him how I’d love to collaborate sometime. He took me up on the opportunity and invited me over to possibly record something… He introduced me to Jesus and Phil (also from Illvis Freshly) and I was kind of confused as to who they even were… but then Jesus played me the rough ‘Upside Down’ track and I loved it. So I ended up collaborating with Dan’s ‘other band’ instead. Needless to say, the tune’s done quite well!
Craft Beer or Bud Light Lime?
Bud light lime all the way to NO! Craft beer is one of the best fads to ever hit Western Canada. Nothing like a delicious Hoyne Dark Matter ?
Which one of your 700+ performances stands out the most for you?
This is arguably the most difficult question I get asked a lot. The answer will probably always be the same… I got to perform / sing for a birthday party one time. Surrounding me was about 25-35 children who medically ‘shouldn’t be alive’ but are warriors! I sang, they danced, I cried at the honour, they kept dancing. There is no greater feeling. A crowd of 10,000 is amazing and exhillerating but that ‘crowd’ was the most special I’ve ever performed for.
You’ve played across Canada, Australia, New Zealand & The Caribbean, is there any country that you’d love to travel while performing?
All. Literally take me anywhere and everywhere. I want to sing for everyone, everywhere! Please and thank you.
Any artists you’d love to open for/have open for you?
I got to open for my #1 musical inspiration, Damian Marley a few weeks ago to a sold out show at The Commodore Ballroom in Vancouver. That was a dream come true to say the least and the reviews of my performance were incredible and humbling. The next step would probably be to have him produce a song or album of mine, but I digress. More dreams come true would be to open for Nas, Bunji Garlin, Andrea Bocelli, Matisyahu, Coldplay, Burning Spear, Sean Paul and for some strange reason… Ariana Grande.
Thanks for chatting with us! We’re excited to catch your October 26th performance at The Belmont 🙂 I’ll be 11 rows back in a t-shirt.
Unacceptable. The Belmont deserves you front and centre in a crop top.
Rifflandia 2017 was a banging success, and we were so stoked to cover it!
One of the 987 highlights…J GRGRY, a 4 piece Dark Pop group from Seattle. They’ve been touring to support their debut 9 track EP, ‘Gold Teeth + Glass Eyes,’ an album we’ve been blasting on repeat since we first heard it.
Fresh off the stage at Bumbershoot, they travelled up north to Victoria, BC to perform for Rifflandia concert-goers on September 14th at Lucky Bar for their first ever show in Canada. The bar may be lucky, but in fact, we’re the lucky ones. 987’s Ashley Yip got to sit down and chat with J GRGRY’s Joe Gregory before their performance:
How was playing at Bumbershoot in your home town?
It was a dream come true. Bumbershoot was my first show I went to as a kid, so when we got the offer sheet for that, I was like “oh my god I can’t believe I’m playing Bumbershoot”! That whole weekend was out of this world. It felt like a real turning point for me. Something clicked on stage that hadn’t ever clicked before. I stayed all 3 days. There was so much good music and great people.
Was there one band or artist that stood out to you?
I’d have to say The Roots. I was standing side stage. I really took my musicianship to another level because of them so seeing them live was unbelievable.
What inspired your look with lines and the colours?
It refers back to meditation and visualization stuff I’ve been doing to keep myself on track and grounded and in good spirit. Whenever I close my eyes, I have this white gold, but it’s more gold, and it’s this upside-down triangle that I see when I meditate. When John and I were talking about the concepts for make up, I told him a little bit about myself and it coalesced and then it evolved – the rhinestone tears, the triangles. There’s bruising around the triangles and a distressed feel. It’s the feeling when I’m singing or writing; I want that to be inside the audience. The more textures and tactile things that people can incorporate into their experience, the more it becomes this whole event for everyone.
This is your first record that you’re touring around with. Have there been other records you have had under different names?
I did a couple records under the moniker The Drama and Dustinblood; both of those were through major labels. I made three records that got shelved, which was a good 10 years. I was making these records and never able to tour and never got to go out because the labels controlled everything. This is when I was 19.
What was different with this record?
It was the first time I ever felt like “ok, no one is watching and no one cares and so I can do whatever I want to do”. I could write these really honest pop songs about my alcoholism and depression and different things that I’ve been dealing with in my life. It was a real freedom.
These songs came together in batches of two. All of a sudden, I had this record. It just felt like me instead of labels being like “You have to get to the chorus in 30 seconds” or “You have to do this”. You don’t have to do anything when you’re making art.What you have to do is just trust yourself and be yourself. This record is the first time I’ve really been able to do that.
Yeah, it must feel like less of a job and more fun.
It sucks the soul out of it. Although this is work – we’ve travelled all day and put a lot of work into the songs and rehearsing and all that – I could do that 20 hours of the day and be like “ok let’s do it tomorrow”!
You met up with Ryan [bandmate] in Seattle?
Robert
Sorry.
No totally. I met him actually when I first moved to California. That was kind of the impetus of that relationship. When we reconnected, it was like all these feelings of when we started and before we got signed to major labels. We came together and we were like, “let’s go back to that. Remember when we were just like sleeping on your couch, making music, drinking”? It was fun, you know. We took that vibe into the studio.
That energy was really cool for me. I felt like I could be open and honest and not, “Am I writing for someone else who’s going to write a cheque so we can go on tour”? It really cut a lot of that fat out so that I can just be me and do the record that I wanted to.
I think it’s very admirable what you did, speaking out about depression, alcoholism. That also opens the door for you to receive other people to reach out to you with their experiences. Have you had any moments on your tour since that have really stuck with you?
It’s unnerving to talk about it. I look back and regret decisions that I made with drinking. But I feel like it’s so important because when I was that age and when I was doing that stuff, no one was telling me that minds like mine, with alcohol, can be really dangerous and hurtful. I want other people, and younger people to know, that it’s ok if you don’t want to drink. It doesn’t have to be some social thing that you have to do to be accepted. I hang out with drinkers all the time, every day and I don’t drink because it’s not for me.
No one told me that depression is what it is. It’s a really heavy beast that hangs on your back. With music, that was what helped me open up with myself about these concepts. It’s important even though it’s uncomfortable for me to talk about. I really appreciate what Michael Stipe, Perry Farrell and Kurt Cobain were doing in the 90s – talking aboutblurring gender lines, sexuality and racism and uncomfortable things that we don’t want to talk about but we have to.
I’ve become more comfortable because I’m finding that the more I talk about it, people are ok. You’re not alone and there are resources in community.
Outside of music, what’s your life like?
My dog is my life outside of music, first and foremost. Her name is Vox. Vox is the word voice in Latin. In the music world, it’s an amplifier that the Beatles use, and it’s my favourite amplifier and in the studio, it’s the shorthand for vocal. She’s a Boxer. I got her right before I got sober, like “I probably won’t take care of myself but I will take care of a dog”. She totally helped me on that really difficult part of the journey, especially.
We go to the beach a lot and do a lot of hiking. Going to the beach is about writing songs. A lot of the time, I go to the San Juan Islands. That’s where 90% of the record was written. I’ve been finding these weird random places in the middle of Oregon and the San Juan.
What can we look forward to seeing from you in the next year?
I’m moving down to LA in about a month. I’ve got about 10 new songs I’m working on and really excited about. I’m going to do a new record December, January, February and then hopefully hit the road hard all of next year. Hoping to get into the European festivals and just tour the US as much as possible.
Keep an eye out for these guys, and if you have the time, you can catch J GRGRY along side The Killers, The Lumineers and more on December 5th in Seattle at Key Arena!
As my first piece for Nine Eight Seven, I was asked to review Youngblood, followed by Bishop Briggs at The Vogue Theatre in Vancouver’s entertainment district. Being one of the only women in the media pit, I tried not to let myself be intimidated. I needn’t have worried – the two acts were respectively spearheaded by two of the most badass, empowering women to hit the stage I’ve seen in a long time.
Youngblood, as the frontwoman Alexis Young describes, is “what the ‘60s thought the future would sound like”. The eclectic, electronic waves and Young’s fiery vocals make it near impossible to believe that this Vancouver-based band is barely a year old. If you want to read more about Young personally, stay tuned for Nine Eight Seven’s interview with her – you’ll fall in love with the laidback siren that is Alexis Young.
Young’s range coupled with the rest of the band’s raw talent made for a commanding set in the 70-year-old theatre. Her trendy vibes and throwback style were met with enthusiasm. In her silky voice, Alexis Young interacted with the audience with quiet humour. Youngblood’s future is bright, and budding rapidly. Garnering hundreds of thousands of listens on Spotify, and watching a snowballing following, the band is striking all the right chords. Cozy but punchy concerts like last night may soon be in the past for this Canadian band. 4/4!
As the stage crew set to work, and a banner dropped behind the drums, the crowd began to buzz once more. In the just-grungy half-light of the venue, I waited patiently.
No amount of Spotify browsing or background reading could have prepared me for the sheer power and dynamism Bishop Briggs brought to the stage. From the white kicks to an iconic pair of pigtails, Briggs’ persona filled Vancouver’s Vogue Theatre from her first note to her dual encore.
Sarah Grace McLaughlin (aka: Bishop Briggs) is a British performer now based in LA. Her style, an electric mix of powerhouse vocals, synth, and heavy base make her difficult to categorize into one genre – her badass moves, killer outfit, and raw energy make her easy to adore. She’s a fresh, trendy singer poised only to keep rising.
Bishop Briggs opened with “Dark Side”, a chilling, eerie track cut with her stunning lyrics and synthetic base; I was sold.
A lion of a performer, she played hits like “Wild Horses”, “Pray”, and “Be Your Love” to an eager crowd of festival-goers. The intimacy of The Vogue allowed her to reach every single audience member at Westward Festival’s opening night.
Briggs performed “River”, arguably her most well-known song, as her second encore. The kick in the tune, and her bouncy dancing had everyone at the show on a high. The atmosphere, a head-banging, hand-clapping, high-jumping attendees made it clear that she stole the night.
All in all, Bishop Briggs’ first ever show in Vancouver was a huge success, and has had me listening to her on repeat since. I can’t begin to convey how in awe her show left me. I can say that the founder of Nine Eight Seven leaned over during her set to say that he hadn’t been so impressed in a very long time. I’d give her 2/2 whipping pigtails, and tell you that you need to catch this powerhouse chick’s performance as soon as you can.
September 2017 could be one of the best months this year for Vancouver concert-goers. One of the many reasons why: Westward Music Festival. Running September 14-17, Vancouver will be host to Westward Music Festival: a festival which will happen at multiple venues in the city (Vogue Theatre, Biltmore Cabaret, Venue, The Imperial Theatre and Fox Cabaret) and feature 14 different events over the course of the weekend. Don’t be fooled by the fact that this is their first year, WMF is bringing some world class acts such as Vince Staples, A Tribe Called Red, and Gov’t Mule.
Among the many rad acts, Little Destroyer: a 3 piece group formed in Vancouver. They’ll be playing along side Dear Rouge at The Imperial on Friday September 15th (more info here).
When we first heard Little Destroyer, many questions formed in our heads. Luckily for us, we got them to answer some for us!
987’s Alli Bridges got in a lil’ Q&A with Little Destroyer’s front-woman Allie Sheldan to help us learn more about the act:
1) You guys have a really unique style that I had a hard time describing. In terms of genre how would you define what youre doing here?
Haha ya – we tend to have that response from people! Short answer: we make alternative music. Long answer: We make music that reflects a long list of influences but ultimately tries to create alternative/pop music that pushes the set boundaries. Sometimes we tell people we’re like if NIN and Miley had a baby fronted by a Yolandi+Gwen mashup. For us it’s about genre mashing, distorting sounds and perceptions but making music you wanna listen to over and over, in the way the pop can hook you – but ultimately being catalyzed through the rawness and energy of punk.
2) So far you’ve released a couple singles from your upcoming EP. When do we get to hear more?
Very soon! To date, we’ve got three songs released – Bad Cell, Rattlesnakes & Savages. Within the next 2 months we’ll be releasing our next single, shooting the video for the following release and dropping some remixes!
3) Allie, you’ve made a point of speaking to the importance of authentic and meaningful lyrics in your music. What is your favorite lyric- in your own and others’ work?
I definitely tend to be fairly candid when writing, I grew up obsessing over lyrics and liner notes and for me, it’s the first thing I notice about a song. It can be uncomfortable being honest but if you can say, (for example) hey listen to this fucked up thing I did/thought/experienced you’re showing people it’s okay to be vulnerable, it’s okay to talk about this stuff. And it helps us all realize we aren’t alone in it. Novel done.
favourite lyric of my own: “All my friends are buying mansions now, they got a kid on the way and it’s reminding me how, I fucked up my life by breaking your heart and the path that I chose has been wrong from the start” – from our song MANSIONS
favourite lyric of someone else’: “The debt you owe is just your soul, and some hotel bills, we’re both just victims of our own free will, and it’s through, you know it’s true, so go and find yourself something to hold onto” – The Reigning Sound “Something to hold onto”
4) It really feels like you’re making music that has yet to be made because it’s so unique and defying of genre. That said, you all must have some artists that you’re inspired by that have informed your music and its direction. Who are they?
Kanye West, Portishead, Tricky, Suicide, The Kills, Die Antwoord, Frank Ocean, The Clash, Anohni, Lou Reed, NIN, Death Grips, Ho99o9, Santigold, MIA….
5) Speaking of musical inspiration, who are you listening to right now that we should check out?
Vince Staples, Peach Pit, War on Drugs, Anohni, Jay Z, King Krule, Against Me!
5.5) Craft Beer or Bud Light Lime?
Tequila! Budwiser Picante Chelada.
6) Let’s get you to play DJ for a second. Pick a song for the occasion: 1) driving 2) dancing 3) drinking
1) Driving: Lift me up – Vince Staples
2) Dancing: BBHMM – Rihanna
3) Drinking: Drinking With the Jocks – Against Me!
7) You’ve been a part of some amazing shows, including opening for Mother Mother and an upcoming show with Dear Rouge. Who would you dream of opening for? And who would you love to open for you?
We have been part of some amazing shows – we feel so lucky! Honestly opening for Against Me! was a dream come true. It was our first time playing at the Commodore and Against Me! is one of our all time favourite bands. So that was incredibly special. And who would we wanna have open for us? Victories, Two Towns or LEGS.
8) What is on the horizon for shows? (what we really want to know is when can we Vancouverites see you next?)
In terms of Vancouver shows: we are playing Friday September 15th at the Imperial with Dear Rouge for Westward Festival which we are very excited about. Great venue and great lineup. And we also have an intimate, limited capacity show in the works, which we’ll be releasing details for soon!
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There you have it. One of many shows next weekend NOT to miss.
So when the powers that be at the NineEightSeven told me to go check out Spoon at the Malkin Bowl last Saturday I was obviously excited because it seems like almost anyone you ask can name a Spoon song and has a story about it to boot.
Almost … but not everyone … with myself being a slightly embarrassed portion of the “not” category.
So, after getting distracted by my uncle’s invitation to play some pick up hockey on Saturday morning (shout out to Uncle Tohmm still going bar down in his sixties) I still hadn’t fully figured out the story behind what makes Spoon so great … but I was excited to find out.
I rolled up to Malkin Bowl (literally … biking through Stanley Park is definitely one of my favourite parts about shows at the Malkin Bowl) on a beautiful Saturday night. I then started asking around on what made Spoon so special “for readers who might not know them that well” (people did not look like they were fooled by this obvious cover up). I got some pretty good answers, and decided to fact them check as the show started.
1) The Variety of their Music:
This one was dead on the money. I don’t think I’ve ever heard a band with as wide of a catalogue stylistically where each song sounded so good! (say what you will about Lil Wayne’s brief foray into rock) This was probably my favourite part of the concert, I literally had no idea what to expect each time they finished a song and transitioned into the next. If you told me that they were pulling a reverse-Wayne and putting out a rap album, I’d assume it was going to be good.
2) They make pop songs that sound like a jam
This one came courtesy of a musician and I can see why. Spoon broke down the end of countless songs with jams that showcased an amazing display of musicianship. While the slowed-down extended keyboard solo may have lost me for a little bit, in an age of backing tracks and superbowl performances with guitars that aren’t plugged in, this was a very refreshing performance to see.
3) They’re a Very Consistent Band
While I haven’t listened to every Spoon album, I can definitely see how these 2 guys to the front right of the stage could make this point. Despite wide stylistic differences, each song was consistently good, and while I’m taking their word on this one (I don’t think the NineEightSeven is willing to wait for me to listen to every Spoon album before I submit this) I really have to give it to a band that can keep up this level consistency. Every song they played on Saturday night was very good and has definitely motivated me to get started on working my way through their catalogue.
4) They Put on an Amazing Show
I’m going to go out on a limb and give you guys one opinion that I didn’t actually (crowd)source. The band put on a phenomenal show, their stage lights were great and worked amazing with the performance they put on, the band played insanely tight (almost like they’d been touring together for 24years .. who’d have thought), Britt Daniel (guitars, vocals) honestly some of the best stage moves I’ve seen from someone holding an instrument. They put on a delightful show that I would 100% recommend checking out next time they’re in town … even if you’re one of those uninformed simpletons who couldn’t even name one of their albums before you went and reviewed their show for a music blog.
The best part of this show though is that it made me want to throw the hockey gear back in the closet and dust off my guitar as soon as I got home (along with cuing up Apple Music to download a bunch of their albums), and if that isn’t the best compliment you can give a show then I don’t know what is.
Also as an aside … what is it about bands from the South that they sound vaguely British in the way they sing (think Spoon, Cage the Elephant)? I guess I’ll just have to add this mystery to the many reasons why Nashville and Austin are high up on my list of places to visit (my friend John from Winnipeg also claims that people say this about him when he sings … but I’ve never seen him perform and I really don’t want to go to Winnipeg to investigate).
3 cherry bombs out of 3!
Review: Jeremy Campos
Now if I’m being totally honest, other than the occasional Banana Pancakes Tinder reference, I haven’t given Hawaiian soft-rock golden boy Jack Johnson much thought since the early 2010’s. But it’s 2017, and the man is clearly going strong. With his 7th studio album, All The Light Above It Too, set to release September 8th, a new single, My Mind Is For Sale, and a tour to boot, Jack Johnson rolled into Deer Lake Park this past Sunday to perform for a sold-out crowd.
Deer Lake Park was the perfect venue for this show, as the crowd stretched out all across the lawn on a bright sunny day, drinking, and enjoying food from a variety of food trucks that made me wish I hadn’t eaten dinner beforehand. The crowd had a nice family vibe as a lot of young kids grooved along with their parents to Jack’s set.
From the moment Jack, Zach (keyboard, vocals, accordion), Adam (drums), and Merlo (guitar) kicked off with ‘Hope’ we could tell we were in for a good show. By the time they moved into ‘Sitting, Waiting, Wishing’ as their next song, it was evident that they haven’t lost a step since their music festival headlining days, back in 2013. The band was smoothly rocking and Mr. Johnson’s vocals were basically perfect. They even threw in a brief cover of Foxy Lady for a little extra musicianship.
All the while, Jack flawlessly played the part of your friend’s cool dad. His stage presence was at once endearing, telling stories about falling off his bike in Stanley Park, and taking a break during a song to sign a record. But also self-aware, as he called on all the parents to put their kids on their shoulders before playing ‘Upside Down’ off of the Curious George soundtrack, and talked about how lame his 16 year old self would think his current band is. But above all else, it was pure fun, as he joked about the photographers making him mess up the words (sorry from Nine Eight Seven!), good-heartedly laughed at people who got hit unexpectedly by beach balls, and called up 2 people dressed as bananas for what else … ‘Banana Pancakes’. Also I’ve got to say this, I’ve seen people in banana costumes at a lot of shows, but this has got to be the best one yet (sorry Robbie and Brett!).
This night was packed with good music. It seemed like every song they played was an easily recognizable hit, and it made you really remember what a great catalogue of music Jack Johnson has put together throughout the years. The highlight of the night had to be when he pulled out the ukulele for ‘Breakdown’. Say what you will about his mainstream soft-rock persona or family friendly concerts, but his vocals on this song were worth the price of admission and, if I’m being totally honest, made me into a Jack Johnson super-fan. The band put on a great show that clearly resonated with all of their fans, be they new, old, young, casual … and judging from all of the couples on dates at the show drinking rosé on a beautiful summer evening … may even have helped make a few new fans 9 months down the road.
CBC are bringing their Musical Nooners Concert Series back for their 8th summer, running every weekday (12pm-1pm) from July 7th to August 25th at the CBC outdoor stage (700 Hamilton st). The event features different artists every day, with genres ranging across the board. It’s a great way to switch up your lunch break, and catch all these local acts, for free!
Among the many talented artists performing is a group that we’ve been quickly falling in love with: The Velveteins, an indie rock band from Edmonton. We were fortunate to catch them in Victoria last November, and Vancouver in April. You best believe we’ll be catching their CBC Nooner set on Friday July 28th.
The Velveteins began as a solo project after Spencer Morphy (vocals, guitar) took an extended trip down to Australia, where he became a beach bum and fell in love with psychedelic music while travelling the country in a campervan. He brought back that beach lifestyle to Canada in 2014, where he teamed up with Addison Hiller (vocals, percussion) and channeled it all through The Velveteins.
Their first EP, Fresh Claws, was released in 2014, followed by a second EP in 2015, titled: A Hot Second With The Velveteins (which was produced and recorded by Cage The Elephant’s Lincoln Parish). These releases received critical acclaim, creating a splash both across the country, and internationally. This May, The Velveteins released their debut full-length album, Slow Wave. Imagine a modern day Beach Boys. It’s the perfect soundtrack for these summer days.
987’s Torben Robertson was able to get in a cheeky Q&A with Spencer Morphy, and even though we only got in a few questions, we can tell the dude’s a chiller.
1) You’ve said your sound is influenced by Australian Psychedelic rock. That’s cool, but seeing as it’s Canada’s 150th, can you describe the influence Canada, and your hometown of Edmonton, have had on the band’s sound?
Yeah totally. We really love Calvin Love’s new record, he’s from Edmonton. Also Michael Rault, whose another Edmonton boy. Other than that Daniel Romano’s super rad, we love him too.
2) Spencer, you’re clearly a capable player: who are your favourite guitarists?
Hah thanks! I’ve had several favourites. I’d have to say as a younger Spenny, Jimmy Page blew my mind. Nowadays I’m always finding new stuff. I really like the guitarist from Whitney, and Ex-Smith Westerns, also Jeff Beck rips.
3) You’ve played with some great acts. USS, July Talk, Milo Greene. For whom have you felt most fortunate to open? And for whom would you like most to open?
We toured with Elephant Stone in November 2016, and those guys are so rad. Definitely a highlight. Personally I would be so stoked to open for a pimp like Jimmy Buffet.
4) Bud Light Lime or Craft Beer?
Bud Light Lime 100%
5) Your collaged album covers are rad. Who does the art?
Addison and I both do them! They feature pretty much all photo’s we’ve taken while playing together.
6) How did you get in touch with Cage the Elephant’s Lincoln Parish? And what was it like working with him?
We just hit him up! I am a big Cage the Elephant fan so it as super rad to work with him. He had a pretty sweet spot in Nashville where we hung out for a week and made the record. Plus we could use all of Cage The Elephants sweet gear. It was a dream, and such a nice guy.
